I have not payed much attention to the on stage records but these look interesting and would like to hear what they sound like. I'll be downloading spyder9 version tonight. Would love to hear the surround sound.

Hey y'all Dennis Rea has put together a seven piece ensemble for guided improv as well as two composed tunes in one of my favorite performance spaces.I'll be running my Avantone CK-1 Busman mod mics onstage with the omni caps.

Chuck, that's correct. Only song title announcements, background stories, banter, communication between musicians, etc. directly from stage without a PA. Occasionally there is a single announce mic to the overhead PA for that, but its far clearer both on the recordings and out in the room when that is not used. There was an unexpected guest sax player at one gig who stood almost directly above the mics similarly arranged like this down low on the stage surface, which concerned me at the time, but the sax recorded nicely.

JimmyC, I’m relatively strong on the recording end and woefully weak on post and distribution work, but that’ll shift eventually. This series has been a fantastic recording setup laboratory for me and I have loads of material comparing various setups which I’ve planned all along to eventually get into a form that I can make available to you all. Syder9 on the other hand is super efficient at getting his recordings posted pretty quickly, so that takes some pressure off me for those who want to hear the music, if not my oddball setups. Thanks for that Spydee.

Hard for me to pass that up Scoob, especially featuring bass clarinet- one of my favorite non-mainstream instruments. Wish I was going to be around tonight for your stream.

Very interesting onstage outfit. I wonder if those ADK's may need to wear windscreens to protect against inadvertent kicks, beer splash, etc.?

Normally yes, but I stopped using them here since all of that is not much of a concern for this series- it's a rather mellow scene. One TL got a an o-so-slight tap from the accoustic bass once when the musician laid it down on it's side on the stage after the set, and that's about as wild as things get, excluding the music.

I always record in mono be it on stage recording or anywhere, it gives you the ability to adjust the panning and levels per channel as needed. The r44 records 4 channel mono with digital in. the dr 680 records 6 mono and digi in is stereo

(Note to John- Bobby played the black Les Paul without the Leslie as he's done before, but this was the first time I've ever seen him play without the echoplex)

It didn't sound too dry did it? Maybe a copy of this will show up at Springfest nice work on the setup

I was out of town all weekend and haven't had a chance yet to listen to the recording itself other then very briefly later that same evening when I got home. Live he did sound a bit drier but not overly so, I think he used the standard Fender spring-verb in the amp. But you know I dig that organic tape delay, even when it's relatively dialed down. It was a rather hum-free night for a change. Looking forward to giving it a closer listen this week, especialy since he felt it was a particularly good night.

I had the chance to record my band on-stage the other day but I was afraid that the drums would take over the whole recording so I ended up having a crappy recording due to a poor position in the GA and a mediocre PA sound.

We play moderately loud indie-rock, do you think a on-stage recording without the drums being too prominent is achievable?

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The worst things in the world are justified by belief.-U2

After silence, that which comes nearest to expressing the inexpressible is music.-Aldous Huxley

More than the issue of how prominent the drums are, is how much of your band's sound comes from a PA?

If you're instrumental and your stage sound is balanced, on onstage recording can turn out beautifully. Parallel compression and judicious limiting can tame the drum kit.

If you have direct instruments, vocals, etc, then a 4 track recording mixing the onstage mics and a soundboard feed works amazingly well. What isn't coming off stage is coming from the PA and you can mix the two in post.

I don't have 2 recorders at the moment so I have to choose between doing SBD (which I actually don't like much, I always prefer the sound of naturally amplified and recorded music) or on-stage. Our stage monitors use to be very balanced and softly mixed so I guess they would be a good taping source, but I'm seriously concerned about the drums. I mean, I record our rehearsals in a very small (4x5 meters) room and the drums come out prominently always, even when the recorder & mics are placed the farthest possible from the drumkit... So I would guess that on-stage recording would have a similar problem if not worse, due to the stage providing an actually shorter distance between recorder and drumkit.

THanks for the help though

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The worst things in the world are justified by belief.-U2

After silence, that which comes nearest to expressing the inexpressible is music.-Aldous Huxley